Pretentious Yet Pointless
Sol Aris has not supplied the colour pallette of this image. This painting is integral to one of the central preoccupations of Sol Aris's art, the understanding of the dominant angularity and horizontality where the relationship of the spectator to the image is a reflection of the artist's soul. The beribboned figure belies the essential difference between pattern and texture.
An interesting aspect of this particular work is that it is the essential distinction between pattern and texture. The arena of contrasting sugar and wine in this work, despite appearing disarmingly simple at first glance, create in the mind slender lissome curves... A perpetually evolving evanescence, the outstanding aesthetic sensibility of which never changes, is often transformed by the essential fact of the reviewer. Semiotically, we see the short vertical line for the inner ego undulate towards the centre of the work, suggesting unreliability. Sol Aris has not commented on the price of this image. Such forms, violent and disconcerting, create disarmingly strong sensations. The artist employs a limited canvas to contain the colours, which therefore subsist in a world of their own doing. The world of sugar and beer in this work, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... It is important to understand that the major feature of post-impressionistic art is that it encourages the artist to understand form in terms of dimensionality, rather than odour. The impersonal forms and industrial colours of Sol Aris's previous works are still present, but transformed.
An interesting aspect of this painting is the shapes contrasting strongly with the arena of contrasting the senses of smell and sound so clearly visible.
The emphatically factual experience of colour and space in this work, despite appearing disarmingly simple at first glance, create in the mind similitude of night and day...
The endless curves are forever engraved in a homage to the Suprematist vision.
``This painting exemplifies the collage-like arrangements by which surrealist painters brought together apparently unrelated objects to create a striking visual poetry, intended to reflect the pattern of unconscious thought.''
[Tate Gallery Guide, 1990, p.162]